Syllabus and Course Outline for Lit & Rep: Percussion 57-437, 57-737 section B Carnegie Mellon University 2012-2013
Course Objective: Each student should gain working knowledge and practical skills to play all standard percussion and timpani repertoire expected of a college graduate and/or post-graduate. The student should master part assignment practice, playing traditions, performance practice, and score study. Each student is expected to know each symphonic score TO THE LETTER! Focus: Students will focus on playing chamber and orchestral repertoire with emphasis on balance and blending within an ensemble. Score study and musical role knowledge is imperative to success in this course. Constructive criticism and collaborative feedback is part of this course. Student Expectations: Students are expected to study and master literature, techniques and materials as prescribed in the course curriculum. This is a performance-oriented course and students are required to play before and alongside their peers. Students are also encouraged to work on a more advanced level of concentration beyond composers and literature presented in this course. Students will play in a pre-assigned percussion section along with seminal recordings of the orchestral work in question as if playing in a live orchestra performance. Students will be graded on, and expected to perform to the highest caliber during each run-through of each passage in the assigned works. Inter-Studio Collaboration: Collaboration between other studios within the music school will occur periodically. These opportunities will be used to benefit both studios equally and students will be prepared with the appropriate repertoire in order to capitalize on these opportunities. Required Materials: Percussion Instrumentation Dictionary/Translation Book The Symphony: A Listener's Guide Steinberg, Michael The Concerto: A Listener s Guide Steinberg, Michael All Instruments required for works studied (i.e. snare drum, cymbals, tambourine, triangle, etc.) Recordings and scores for works played and studied Languages: As a professional musician you will be required to translate words from many languages: German, Italian, French etc. Students must become familiar with the markings written in the score/part of the work being studied. Attendance Policy: Attendance is mandatory for all classes due to the volume of works to be discussed and played. Any absence must be pre-approved by the instructor. * All students must attend one concert per week by the Pittsburgh Symphony, Pittsburgh Opera, Chatham Baroque, or other professional group in the area. Students must bring back a program from the concert to receive credit.
Grading: Grades are determined by the combined results of class participation and two written exams administered throughout the course of each semester. Frequency and quality of performances given in class make up 100% of the student s final grade. Repertoire Class & Collaboration Grading Rubric A(+) Exceptional progress; always prepared A- Outstanding progress; well prepared B+ Very good progress; usually well prepared B Very good progress; prepared B- Good progress made; usually prepared C+ Average progress made; inconsistent preparation C Below average progress being made; cause for concern C- Little or no progress; usually unprepared D+ Very little to no progress; unprepared D No progress made; consistently unprepared D- No progress made; always unprepared F No progress made; never prepared
1. Mozart Magic Flute Overture, Marriage of Figaro Overture 2. Mozart Abduction from the Seraglio 3. Dvorak Carneval Overture, Scherzo Capriccioso, Slavonic Dances 4. Mahler Symphony #2 5. Bernstein/Kachaturian Candide Overture/Gayne Ballet 6. Berlioz Symphony Fantastique 7. Saint-Saens/Mussorgsky Danse Macabre/Night on Bald Mountain 8. Britten Young Person s Guide to the Orchestra 9. Tchaikovsky Symphony #1/Symphony #2 10. Orff Carmina Burana 11. Tchaikovsky The Nutcracker ** Works may be changed/substituted on an as-needed basis depending on the advancement of the student s sections.
Pedagogy Instruction Practice Lit & Rep: Percussion Carnegie Mellon University 57-437, 57-737 section B The Carnegie Mellon University percussion division is committed to equipping all of its students with the skill sets necessary to teach future students. Our students consistently receive instruction on the most up to date methods of teaching and pedagogy. This instruction is infused in their classes and private instruction. The students are consistently given assignments to research, practice, and incorporate the newest proven methods in instruction and teaching techniques. Purpose The purpose of the pedagogy element in this class is to ensure all students receive accurate, practical instruction in teaching the content of the class. The students should be well versed and acquainted with the current methods, materials, and issues in percussion repertoire and their practical applications. Objectives 1. Student should be taught how to guide younger percussion players through development as players and performers. 2. Students should gain a historical perspective of effective percussion pedagogy practices. 3. Students should actively demonstrate teaching skills learned in class on a weekly basis. Practice Students will: 1. Learn a work from the prescribed repertoire list using recordings, score study, part study, and videos or other multi-media. 2. Perform assigned works in class as if they were in an orchestra rehearsal/performance utilizing skills from other percussion courses/lessons. 3. Discuss, explain, and teach through demonstration, lectures, and presentations various facets of the week s repertoire assignment. These facets will include, but are not limited to: a. Historical perspective b. Style c. Performance Practices d. Practical issues with the execution of assigned music e. Conductor styles/meters based upon video footage Evaluation Students will: 1. Be evaluated partly on their teaching capabilities by the student body. 2. Give feedback to their student peers regarding portions of their lessons/lectures/presentations and their effectiveness. 3. Be evaluated by the effectiveness of their teaching unit based upon the results of the other student group to which they are teaching or presenting.